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L Romanticism and Time EDITED BY SOPHIE LANIEL-MUSITELLI AND CÉLINE SABIRON ANIEL -M Romanticism and Time This brilliantly conceived, exhilarating, and wide-ranging collection of essays is essential reading for all those interested in taking the long view of the historical, literary, and USITELLI philosophical times of British Romanticism. Literary Temporalities Pamela Clemitt, Queen Mary, University of London Romanticism and Time is a remarkable affirmation of border-crossings and international AND EDITED BY SOPHIE LANIEL-MUSITELLI AND CÉLINE SABIRON exchanges in many ways. This major collection of essays represents the work of eminent scholars from France, Germany, Switzerland, Czechoslovakia, the United Kingdom, and the S United States, as they in turn represent the Romanticisms that emerged not only from the ABIRON “four nations” of England, Scotland, Wales, and Ireland but also from Continental Europe and America. With their commitment to diversity, to change, and to exchange, and because of their awareness of the romanticism of periodization itself, the authors in this volume ( produce, as Wordsworth might say, a “timely utterance.” EDS ) Kevis Goodman, University of California, Berkeley This volume considers Romantic poetry as embedded in and reflecting on the march R of time, regarding it not merely as a reaction to the course of events between the late- eighteenth and mid-nineteenth centuries, but also as a form of creative engagement with history in the making. Revising current thinking about periodisation, these essays survey the Romantic canon’s evolution over time and approach Romanticism as a phenomenon unfolding across national borders. As with all Open Book publica� ons, this en� re book is available to read for free on the OMANTICISM publisher’s website. Printed and digital edi� ons, together with supplementary digital material, can also be found at www.openbookpublishers.com Cover Image: J.M.W Turner, Ancient Italy - Ovid Banished from Rome (1838). Cover Design by Anna Ga� . AND T IME book eebook and OA edi� ons also available OPEN ACCESS OBP https://www.openbookpublishers.com © 2021 Sophie Laniel-Musitelli and Céline Sabiron. Copyright of individual chapters is maintained by the chapter’s author. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Sophie Laniel-Musitelli and Céline Sabiron (eds), Romanticism and Time. Cambridge, UK: Open Book Publishers, 2021. https://doi.org/10.11647/OBP.0232 Copyright and permissions for the reuse of many of the images included in this publication differ from the above. This information is provided in the captions and in the list of illustrations. In order to access detailed and updated information on the license, please visit https:// doi.org/10.11647/OBP.0232#copyright. Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://doi. org/10.11647/OBP.0232#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. This book has been published with the support of the Institut Universitaire de France. Univ. Lille, ULR 4O74—CECILLE—Centre d’Études en Civilisations, Langues et Lettres Étrangères, F-59000 Lille, France. ISBN Paperback: 978-1-80064-071-9 ISBN Hardback: 978-1-80064-072-6 ISBN Digital (PDF): 978-1-80064-073-3 ISBN Digital ebook (epub): 978-1-80064-074-0 ISBN Digital ebook (mobi): 978-1-80064-075-7 ISBN Digital (XML): 978-1-80064-076-4 DOI: 10.11647/OBP.0232 Cover Image: J.M.W Turner, Ancient Italy—Ovid Banished from Rome (1838). Wikimedia, https://commons.wikimedia.org/wiki/File:Turner_Ovid_Banished_from_Rome.jpg. Cover Design by Anna Gatti. 7. Book-Time in Charles Lamb and Washington Irving Matthew Redmond This essay considers how two Romantic writers, Charles Lamb and Washington Irving, explore the perception-altering powers of absorbed reading. Both men, with their famously antiquarian tastes, have long been portrayed as enemies of change, retreating from the present moment into the comforting familiarity of old times. Upon our closer examination of their writing, however, that received view breaks down—for Lamb and Irving often use texts within texts to recuperate a fuller range of temporal experience than what the advent of industrialisation in a post- revolutionary world seems to allow. In Lamb’s Last Essays of Elia and Irving’s Sketch-Book of Geoffrey Crayon, Gent., the image of an ideal reading practice—with all its capacity for surprise, improvisation, and leisurely enjoyment—enables us to conceptualise alternative experiences of modern life. Reading well, in other words, becomes a gateway into book-time, a reprieve (however temporary) from the inhumane workings of clock-time. William Hazlitt concludes The Spirit of the Age (1825) with a chapter about two essayists who, in his estimation, defy that spirit: Charles Lamb and Washington Irving (or ‘Irvine’, as he calls the latter). Though Hazlitt sets himself the task of describing ‘the beauties and defects of each in treating of somewhat similar subjects’, it soon becomes clear that beauties and defects are unevenly portioned out between the two men.1 He spends the central part of this chapter praising Lamb, who possesses ‘the very soul of an antiquarian, as this implies a reflecting humanity; 1 William Hazlitt, The Spirit of the Age (Oxford: Woodstock Books, 1989), p. 409. © Matthew Redmond, CC BY 4.0 https://doi.org/10.11647/OBP.0232.07 146 Romanticism and Time the film of the past hovers for ever before him’.2 Irving’s main attributes, meanwhile, are essentially a caricature of these: his aesthetic represents not antiquarianism, but a mere anachronism that deposits thick scales over his eyes instead of Lamb’s hovering film. Seen in this light, the original Knickerbocker becomes a rambling, Quixotic American tourist in England, recording only what his favourite outdated British sources, like The Spectator, have taught him to see. Instead of tracing the changes that have taken place in society since Addison or Fielding wrote, he transcribes their account in a different hand-writing, and thus keeps us stationary, at least in our most attractive and praise-worthy qualities of simplicity, honesty, hospitality, modesty, and good-nature. This is a very flattering mode of turning fiction into history, or history into fiction; and we should scarcely know ourselves again in the softened and altered likeness, but that it bears the date of 1820, and issues from the press in Albemarle-street.3 While Hazlitt’s value judgments may startle us with their sharpness, he sets the table for much critical reception of these writers over the last two hundred years. Crucially, he contends that while the differences between Lamb and Irving are significant, so are the similarities.Hazlitt depicts both men retiring to the comforts of history, whether distant or comparatively recent. If Lamb’s relationship with the past is more methodical and wider-ranging than Irving’s, both are nonetheless living throwbacks, antiques set apart from the crowd by their allegiance to past and passing things. In keeping with this observation, what The Spirit of the Age will not attribute to either Lamb or Irving is any coherent sense of the present or the future. Both men, by indulging their old-fashioned tastes, turn away from any sustained contemplation of the changing world around them. Hazlitt brings this point into tight focus with a few pithy phrases directed at Lamb’s work: ‘He evades the present, he mocks the future. His affections revert to, and settle on the past’.4 The American ‘Irvine’ does about the same thing, mostly because he cannot do more. It is with this patronizing assessment of Irving and Lamb that my analysis begins. Situating itself in a post-revolutionary, rapidly industrializing world full of Thompsonian clock-time, this chapter 2 Ibid., p. 411. 3 Ibid., pp. 421–22. 4 Ibid., p. 414. 7. Book-Time in Charles Lamb and Washington Irving 147 explores some ways that both men, as figures in their own writing, self-consciously take up valuable time and space with their reading habits, as well as the spatio-temporal stakes of their doing so. In their different national contexts, both writers, repelled by the relentless pace of modern temporalities, strive to imagine environments where time respects the manifold quirks and variations of lived experience, whether at the scale of the individual or that of the modern state. To achieve this labour of imagination, both Lamb’s Last Essays of Elia and Irving’s ‘English Writers on America’, from The Sketch-Book of Geoffrey Crayon, Gent., build their images of being-in-time around the highly sensitive chronotope of the book. In other words, taking inspiration from the concept of ‘heterochrony’, or the heterogeneity of modern time, propounded by Laura Bear and Georgiana Born, I submit that Irving and Lamb boldly use fictionalised acts of reading to expand the range— or at least to forestall the narrowing—of available temporal experience in the historical moment of their work.5 Charles Lamb: The Volume of the Mind It would be difficult to overstate how profoundly books andreading shape Lamb’s imagination.
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